Whilst Vincent was in Auvers, he painted fervently, creating a new canvas almost daily. Gachet also had his own etching press and Vincent produced his only ever etching, Portrait of Dr Gachet with Pipe, during this period.

Gachet spent the final years of his life imitating them, and aimed to write a biography of Vincent, although this never came to fruition. He also probes Gachet about the rumours of an argument between the two friends a few weeks beforehand….

Vincent regularly joined the Gachet family for meals and painted Marguerite twice, yet her face was always concealed.

Saoirse Ronan played Marguerite in the live-action filming that our painters used as reference footage. We talked to her about Van Gogh and the film process behind the scenes;.

He is the father of Armand Roulin , sending Armand on his quest to deliver a letter, and find out what really happened to Van Gogh. How does a man go from being absolutely calm to suicidal in six weeks?

He painted more portraits of Postman Roulin than of any other person, other than himself. Vincent described him in a letter to his brother Theo:.

A more interesting man than many people. It was Roulin who cleared up his house, took him out of hospital, and was a pillar of strength for Vincent. Shortly after this, Roulin was assigned to work in Marseille, but they still exchanged many letters.

Armand arrives in Paris only to find that Theo is dead too. Arles, 1 December Vincent painted Armand three times, and his Portrait of Armand Roulin in a yellow jacket is the one from which we took a lead for Loving Vincent:.

At various points in the Loving Vincent script writing journey other characters were the central protagonists of the story. However they all held strong views about Vincent, but we wanted a main character who started out rather indifferent to Vincent, and could be drawn into the mystery and magic of his world and the tragedy of his untimely death.

We wanted the films audience to be able to see the real people underneath the paintings, and the emotions on their face, so we cast actors who had a physical resemblance to the paintings and who could bring that painting to life.

Douglas Booth was cast as Armand, and the live action filming of his scenes took place in in London. This live action footage was then used by the painters who worked on Loving Vincent as a reference for the 65, oil paintings that were created and animated to produce the final film.

Vincent van Gogh experimented with a variety of painting styles and techniques, and our hero Armand often enters a scene painted in a different style to his own portrait in Loving Vincent.

Our aim was that Armand should wherever possible, harmonise with the style of the painting he is invading. The story of Loving Vincent begins one year after death of Vincent van Gogh, in the summer of Our hero Armand Roulin sets out to discover the truth about Van Gogh, and in doing so meets many people who knew Vincent when he was alive, and they share their memories of him with Armand.

Vincent was an avid letter writer and left behind over letters which director-writer duo Dorota Kobiela and Hugh Welchman drew from when writing the script for the film.

These are done in a black and white painted style, based on photographs from the era. This freed us up to show many dramatic situations from his life, without taking it upon ourselves to imagine entire series of paintings that Vincent never painted.

We hope that Loving Vincent will introduce more people to his work and life. Loving Vincent first entered development in , originally conceived as a short film by Dorota Kobiela.

Since then the script has gone through several major drafts and changes in direction before settling on the final version, which tells the story from the point of view of Armand Roulin.

Here are few words from writer-director duo Dorota Kobiela and Hugh Welchman at various points in the journey. By far the hardest challenge was re-writing the script as an 80 minute film.

I see myself as a director, not a writer. I would often write scenes that I thought were beautiful and moved the story forward, and then realise they were too removed from the paintings.

I wrote the first draft in Polish, based on my various short scripts, and using character monologues we had commissioned from a Polish novelist, Jacek Dehnal.

I wrote the second draft in Polish as well, and it was so time consuming getting it translated, and getting notes in English, so, seeing as we were going to shoot the film in English, I decided I would write future drafts in English.

So at this point I drafted in the help of Hugh and co-opted him as my co-writer. Over the next 2 and a half years we produced 5 full new drafts, and many minor revisions to those 5 drafts, and we had two complete changes of direction during this time.

But the first concrete script that emerged was set during his last days. This resonated, and also I loved the paintings involved, and the fact they included paintings of people who he had regular contact with at the end: the mercurial Dr Gachet; his mysterious daughter, Marguerite Gachet, painted three times, yet her face always concealed; and the spirited daughter of the owner of the Inn where Vincent died, Adeline Ravoux.

We had read around 40 different publications about Vincent: biographies, academic, essays and fictional works. Over 4 years we visited 19 museums in 6 countries to view around Van Gogh paintings.

We also watched the major feature film and documentary productions about his life and interviewed experts at the Van Gogh Museum. The demands of writing a script on Vincent were tough.

So we showed only what we see in his paintings. For us it was very clear that Vincent was not insane. But we also had to deal with the widely held perception that he was some tortured mad suffering artist.

A major change of direction was the change from a mockumentary to a regular dramatic story. We also made the stylistic choice to have two different visual styles in the film- the interviews would be in Vincent style, and the recollections of the people being interviewed would be in black and white.

One draft had Postman Roulin and his son narrating events to a third party, the painter Edvard Munch. An early test painting with the Roulins and Edvard Munch. We felt this was still too removed and we needed to identify more closely with the emotional journey of the main characters.

So then we shifted to setting the investigation in the present, and made Armand Roulin the hero, interviewing people in Auvers, Paris and Arles. Loving Vincent began development in , and involved several years of testing and training before painting on the shots used in the final film began.

From various tests with computer animation we concluded that it was very important to actually, like Vincent van Gogh, paint with oils on canvas.

Each frame of the film is an oil painting, based on or inspired by his paintings. We wanted real people to bring his portrait to life; actors rather than animations.

By shooting live action with actors we created material in days that would normally take months in animation. In Dorota Kobiela directed the concept trailer for the film and our first painters came on board.

At the same time we also worked on a prototype for PAWS Painting Animation Work Station , a workstation designed to make the painting animation process as efficient as possible.

In we shot test live action test footage in Poland in a freezing barn at c with members of the crew standing in as characters.

We edited this together and used it as reference footage for the next stage of painting tests. We researched and tested 9 different brands of oil paints from 6 manufacturers. We took into consideration quality of the paint, viscosity, how the colours came across, range of colours, and price.

The colour that mattered most to us was yellow. We needed a brand that had a good range of yellows, and for the yellow to be very saturated.

Go behind the scenes of the first fully painted feature film! The book "Loving Vincent: The Journey" is now available. On 27th July a gaunt figure stumbled down a drowsy high street at twilight in the small French country town of Auvers.

This was Vincent van Gogh, then a little known artist; now the most famous artist in the world. Loving Vincent tells that story.

Postman Joseph Roulin Pere Tanguy reveals Who am I in the eyes of most people. A nobody, a non-entity, an unpleasant person.

where is loving vincent playing

He also probes Gachet about the rumours of an argument between the two friends a few weeks beforehand…. Vincent regularly joined the Gachet family for meals and painted Marguerite twice, yet her face was always concealed.

Saoirse Ronan played Marguerite in the live-action filming that our painters used as reference footage. We talked to her about Van Gogh and the film process behind the scenes;. He is the father of Armand Roulin , sending Armand on his quest to deliver a letter, and find out what really happened to Van Gogh.

How does a man go from being absolutely calm to suicidal in six weeks? He painted more portraits of Postman Roulin than of any other person, other than himself. Vincent described him in a letter to his brother Theo:.

A more interesting man than many people. It was Roulin who cleared up his house, took him out of hospital, and was a pillar of strength for Vincent. Shortly after this, Roulin was assigned to work in Marseille, but they still exchanged many letters.

Armand arrives in Paris only to find that Theo is dead too. Arles, 1 December Vincent painted Armand three times, and his Portrait of Armand Roulin in a yellow jacket is the one from which we took a lead for Loving Vincent:.

At various points in the Loving Vincent script writing journey other characters were the central protagonists of the story. However they all held strong views about Vincent, but we wanted a main character who started out rather indifferent to Vincent, and could be drawn into the mystery and magic of his world and the tragedy of his untimely death.

We wanted the films audience to be able to see the real people underneath the paintings, and the emotions on their face, so we cast actors who had a physical resemblance to the paintings and who could bring that painting to life.

Douglas Booth was cast as Armand, and the live action filming of his scenes took place in in London. This live action footage was then used by the painters who worked on Loving Vincent as a reference for the 65, oil paintings that were created and animated to produce the final film.

Vincent van Gogh experimented with a variety of painting styles and techniques, and our hero Armand often enters a scene painted in a different style to his own portrait in Loving Vincent.

Our aim was that Armand should wherever possible, harmonise with the style of the painting he is invading. The story of Loving Vincent begins one year after death of Vincent van Gogh, in the summer of Our hero Armand Roulin sets out to discover the truth about Van Gogh, and in doing so meets many people who knew Vincent when he was alive, and they share their memories of him with Armand.

Vincent was an avid letter writer and left behind over letters which director-writer duo Dorota Kobiela and Hugh Welchman drew from when writing the script for the film.

These are done in a black and white painted style, based on photographs from the era. This freed us up to show many dramatic situations from his life, without taking it upon ourselves to imagine entire series of paintings that Vincent never painted.

We hope that Loving Vincent will introduce more people to his work and life. Loving Vincent first entered development in , originally conceived as a short film by Dorota Kobiela.

Since then the script has gone through several major drafts and changes in direction before settling on the final version, which tells the story from the point of view of Armand Roulin.

Here are few words from writer-director duo Dorota Kobiela and Hugh Welchman at various points in the journey. By far the hardest challenge was re-writing the script as an 80 minute film.

I see myself as a director, not a writer. I would often write scenes that I thought were beautiful and moved the story forward, and then realise they were too removed from the paintings.

I wrote the first draft in Polish, based on my various short scripts, and using character monologues we had commissioned from a Polish novelist, Jacek Dehnal. I wrote the second draft in Polish as well, and it was so time consuming getting it translated, and getting notes in English, so, seeing as we were going to shoot the film in English, I decided I would write future drafts in English.

So at this point I drafted in the help of Hugh and co-opted him as my co-writer. Over the next 2 and a half years we produced 5 full new drafts, and many minor revisions to those 5 drafts, and we had two complete changes of direction during this time.

But the first concrete script that emerged was set during his last days. This resonated, and also I loved the paintings involved, and the fact they included paintings of people who he had regular contact with at the end: the mercurial Dr Gachet; his mysterious daughter, Marguerite Gachet, painted three times, yet her face always concealed; and the spirited daughter of the owner of the Inn where Vincent died, Adeline Ravoux.

We had read around 40 different publications about Vincent: biographies, academic, essays and fictional works. Over 4 years we visited 19 museums in 6 countries to view around Van Gogh paintings.

We also watched the major feature film and documentary productions about his life and interviewed experts at the Van Gogh Museum.

The demands of writing a script on Vincent were tough. So we showed only what we see in his paintings. For us it was very clear that Vincent was not insane.

But we also had to deal with the widely held perception that he was some tortured mad suffering artist. A major change of direction was the change from a mockumentary to a regular dramatic story.

We also made the stylistic choice to have two different visual styles in the film- the interviews would be in Vincent style, and the recollections of the people being interviewed would be in black and white.

One draft had Postman Roulin and his son narrating events to a third party, the painter Edvard Munch. An early test painting with the Roulins and Edvard Munch.

We felt this was still too removed and we needed to identify more closely with the emotional journey of the main characters. So then we shifted to setting the investigation in the present, and made Armand Roulin the hero, interviewing people in Auvers, Paris and Arles.

Loving Vincent began development in , and involved several years of testing and training before painting on the shots used in the final film began.

From various tests with computer animation we concluded that it was very important to actually, like Vincent van Gogh, paint with oils on canvas. Each frame of the film is an oil painting, based on or inspired by his paintings.

We wanted real people to bring his portrait to life; actors rather than animations. By shooting live action with actors we created material in days that would normally take months in animation.

In Dorota Kobiela directed the concept trailer for the film and our first painters came on board. At the same time we also worked on a prototype for PAWS Painting Animation Work Station , a workstation designed to make the painting animation process as efficient as possible.

In we shot test live action test footage in Poland in a freezing barn at c with members of the crew standing in as characters.

We edited this together and used it as reference footage for the next stage of painting tests. We researched and tested 9 different brands of oil paints from 6 manufacturers.

We took into consideration quality of the paint, viscosity, how the colours came across, range of colours, and price. The colour that mattered most to us was yellow. We needed a brand that had a good range of yellows, and for the yellow to be very saturated.

The tests consisted of applying paint to canvas boards and photographing them under different lighting conditions. Royal Talens Van Gogh was the obvious choice because it had the greatest range of colours, and additionally it was the cheapest of the 3 paints that passed our tests.

After we had fine tuned the painting process, we found and trained 40 more painters, whose training was partly funded by a Kickstarter campaign. In we were then able to start the design painting process, with 20 painters re-imagining the paintings of Vincent van Gogh for the big screen.

His tragic death has long been known, what has remained a mystery is how and why he came to be shot. Vincent is not only famous for his paintings, but also for his tortured life, notably for cutting off his ear and shooting himself while painting at his easel; painting to the bitter end of his unhappy misunderstood life.

He has in his possession a letter from Vincent to his beloved brother, Theo, which was returned as undeliverable.

On hearing the news about Vincent he sends his hot-blooded son, Armand Roulin Douglas Booth , on a mission to deliver the letter by hand to Theo and find out what really happened to Vincent.

After having witnessed Vincent on the night he cut off his ear Armand can all too easily imagine the unstable Vincent taking his own life. But his father insists, so he heads to Paris.

In Paris there is no sign of Theo. He is directed to Pere Tanguy John Sessions , the paint seller. Pere cannot fathom why Vincent would commit suicide when he seemed to be on the brink of stardom.

We shot the film with actors, and literally painted over it frame by frame. This is a very laborious and time-consuming process. Someone who has not, and never will have, any position in society, in short the lowest of the low.

Well then, even if that was all absolutely true, one day I would like show by my work, what this non-entity has in his heart.

It was the abiding passion of her life until she made her first film. Then film enticed her away with its excitement and camaraderie, but after a few years working in film Dorota missed the soulful and contemplative world of painting.

A crisis ensued, during which Dorota turned for solace to the letters of Vincent van Gogh. Out of crisis emerged the idea to combine film and painting. She embarked on making Loving Vincent, to bring his paintings to life to talk for him.

The book "Loving Vincent: The Journey" is now available. On 27th July a gaunt figure stumbled down a drowsy high street at twilight in the small French country town of Auvers. This was Vincent van Gogh, then a little known artist; now the most famous artist in the world.

Loving Vincent tells that story. Postman Joseph Roulin Pere Tanguy reveals Who am I in the eyes of most people. A nobody, a non-entity, an unpleasant person. Vincent van Gogh. Director Dorota Kobiela trained as a painter.